Bandoneonist, composer and leader
(24 February 1892 – 29 September 1924)
Every tango lover has a personal vision towards the artists’ values, and that is all right, our taste and personal experiences define us in the choice of ones or others.
Certainly, when we talk about tango as song, there is an unanimous agreement in the incomparable figure of Carlos Gardel, something that does not happen when the opinion is about orchestras or the rest of the musicians or singers.
The case of Eduardo Arolas, is another exception, his extraordinary talent as composer, places him one a rank above the rest, what is a merit even greater if we take into account that in his time the major tango creators appeared. Let us remember musicians of the category of Agustín Bardi, Vicente Greco, Arturo De Bassi, Juan Carlos Cobián, Roberto Firpo, among so many others.
So Gardel and Arolas are, in my opinion, the basement of modern tango, the former, born French and porteño (Argentine from Buenos Aires) by adoption, the latter, Argentine with French parents.
Gifted with an incredible melodic creativity, he stepped into the musical environment as a modest player of guitar, his first instrument, introduced by his friend Ricardo González, (Muchila).
But the bandoneon will be responsible for his consecration and the faithful witness of his genius and his tormented life. Continue reading.
Pianist, leader and composer
(7 January 1903 – 12 January 1960)
He, as nobody else, knew how to combine the rhythmic cadence of tango with a harmonic structure, apparently simple, but full of nuances and subtleties.
He was not enrolled for any of the two streams of his time. His was neither a traditional orchestra, styled after Roberto Firpo or Francisco Canaro nor a follower of the De Caro renewal.
Di Sarli imposed a seal of his own; a different musical profile, which remained, unaltered throughout his prolonged career.
In the beginning, his sextet reveals us the influence of Osvaldo Fresedo. And certainly, I think there would have never been a Di Sarli had not existed a Fresedo. But, only as necessary forerunner of a style that, with time, would become a pure model with its own and differentiated nature.
He was a talented pianist, maybe one of the most important, who conducted his orchestra from his instrument, with which he mastered the synchrony and the performance of the outfit.
In his orchestral scheme there were not instrumental solos, the bandoneon section sang at times the melody, but it had an essentially rhythmic and danceable role. Only the violin was showcased in an extremely delicate way, on a brief solo or on a counter melody. Continue reading.
Singer and composer
(6 January 1922 – 24 February 1999)
Listening to Roberto Rufino when he sang “María” or “La novia ausente” or “Malena” or any of the tangos he had chosen for his repertoire, was to realize that that tango was unraveling little by little and that the words sprang up separately, without forsaking the whole that gathered them, with the proper strength they had to have in their context.
Rufino was that: a storyteller, a phraser, an interpreter that perfectly knew which was the meaning of what he was singing.
He was born on January 6, 1922, on 753 Agüero Street —in the heart of the neighborhood of el Abasto—, son of Lorenzo Rufino and Agustina Guirin, although in his birth certificate is written the day he was filed on the records, on the 8th day of that same month and year. A little bit yonder, on Agüero and Guardia Vieja Streets, the café O’Rondeman was placed, where Carlos Gardel attempted his early songs. A premonition? Maybe, because Rufino as well started at the old café of his neighborhood, which still was run by the Traverso brothers. But there is a further coincidence: in the same year, 1935, his father and Gardel died. And in 1936, a few days after the cortege which was mourning Carlitos to his final abode had passed along Corrientes street, El pibe del Abasto —as he was called since the early days at O’Rondeman, made his professional debut; he was also called El pibe Terremoto— at the Café El Nacional, as vocalist of the Francisco Rosse typical orchestra, to switch, a little bit later, to Petit Salón, with Antonio Bonavena orchestra, composer of “Pájaro ciego” and uncle of the would-be boxer.
But we are still in the singer’s prehistory. Continue reading.
Osvaldo and Coca Cartery are incredible dancers. Osvaldo does lots and lots of very interesting steps that I haven’t seen anyone else do. I recently revisited the Tango and Chaos web site and read how Osvaldo Cartery’s dance style is probably the closest thing to the legendary dancer Petroleo’s style in the milongas today. Find out more.
Back in 1947, when he was 16, he practiced with other boys three or four times a week. Then he frequented the Club Patagones, on 200 Quilmes Street, but soon later he dared to step on the huge track of the Club Estados Unidos or of the Franja de Oro.
«Nearly always some dancers arrived and taught us steps and corrected our mistakes. From my neighborhood, Pompeya, I especially remember Tin who danced to Aníbal Troilo’s music with his partner Sarita ».
Later he became habitué to the Club ANBA and thereafter to the Club Oeste, where he would really learn this art. With the passing of time he stood out in tango and even more in milonga. He teamed up with Nelly (Nélida Fernando) and began a career with classes, exhibitions and international tours. Soon he achieved recognition and his name turned out a synonym of elegance and cadence. Read more.
He had a so porteño destiny that he was born in the year the Obelisk was inaugurated.
As a kid he used to dance with his mother and his aunts. «He was the favorite in the family», to such an extent that when he was nearing the time of wearing long trousers he entered the Jockey Club of Olivos. «I danced foxtrot, boogie, later tango, and I have never stopped since then».
Later, at age 14, he went downtown and came to know Alfredo Gobbi, who became his dancing backer and allowed him to enter the Sans Souci dancehall on Corrientes Street. So then he frequented other milongas. Among them we can mention the Galería Pronor on Maipú Avenue and the Club 12 de Octubre, both in Olivos; the Club Huracán in Villa Martelli and the Club Defensores in Florida, among others, «where people danced tango in the Pugliese’s style» and he developed a style that made him an expert in slow-paced tango. Continue reading.
Néstor La Vitola & Mónica Paz dancing at Cachirulo milonga, October 2007:
Néstor La Vitola
A great milonguero from Buenos Aires, who loves Pugliese’s music, and shows this love when he dances to it.
Was born and raised in Buenos Aires. Tango has been her full time profession for 20 years. She is specifically involved in Tango Milonguero style, the “Real Milonguero” with chest-to-chest connection and the style she dances each week in the milongas with the best milongueros from Buenos Aires. She feels lucky to have had that experience especially with Carlos Gavito and Pedro “Tete” Rusconi. Nowadays, some of her partners at the milonga are “Chiche” Ruberto and Néstor La Vítola, among others.
Mónica is one of the very few teachers with an academic education that focuses on tango. From years of study, discussion and dance in the milongas of Buenos Aires, Mónica learned from the old time milongueros themselves about the genuine, authentic art form that we call Tango Milonguero. By her didactics, pedagogy and vast experience as a teacher and dancer, she is recognized in Buenos Aires (Argentina), Washington DC; New York City; New Jersey (US); The Hague; Leiden and Amsterdam (The Netherlands); Antwerp and Brussels (Belgium); London and Bristol (United Kingdom) among others cities where she is frequently invited to offer classes, workshops and performances of tango.
Mónica has a vast teaching experience as follower and leader. She has developed a simple method of learning for both roles which helps the student acquire a solid base, functional and universal, of tango, allowing him/her to understand and incorporate the technique, and develop a personal style. Monica masters the technique of the Tango, the Milonga and the Tango Waltz within the Milonguero Style.
Since June 2010 Mónica is holding PractiMilonguero; where she teaches the Etiquette of Tango in traditional milongas of Buenos Aires. In addition, she interviews living legends of tango to share with the tango world the experiences and reflections of them.
Blas Catrenau & Enriqueta Kleinman dancing in Los Angeles, California, 2011.
He started dancing tango in his early youth among other young men at the practice studio of Crisol and Verné. Later he attended several carnival balls organized at local clubs such as San Lorenzo de Almagro.
Since then he never stopped dancing and attending the most important clubs of his time, like Club Unidos de Pompeya, Club Huracán, Club Social y Sportivo Buenos Aires, Club Social Rivadavia, Palacio Rivadavia, Club Almagro, Chacarita, Premier, Editorial Haines, etc. In his youth he often danced at the main tango bars of Buenos Aires, such as Picadilly, Sans Souci, Montecarlo, and many more.
At the early ‘90s, he started organizing “milongas” himself. From 2003 to 2009 he leaded “La Milongüita”, one of the most famous “milongas” in Buenos Aires.
In 2002 he won the First Metropolitan Tango Championship in Buenos Aires.
In 2003 he obtained the Tango Teacher degree released by Buenos Aires City Government. He was then authorized to teach at the Centro Educativo del Tango de Buenos Aires (CETBA), created by Masters and Dancers Gloria and Rodolfo DINZEL.
His passion for dancing as well as the harmony he shares with his partners, and the gracefulness of his movements, capture and celebrate the essence of traditional TANGO.
In 2002, he won first Metropolitan Tango Championship Hall of the City of Buenos Aires.
In 2003 Professor Tango was declared by the Government of the City of Buenos Aires which enabled him to teach in the Education Center of Buenos Aires Tango (CETBA) created by the teachers and dancers Gloria and Rodolfo DINZEL.
Enriqueta Kleinman (1953-2014)
Enriqueta has danced tango for over 17 years. She had taught group and private classes in Buenos Aires and all over the world. She was an expert in Salon Tango – Milonguero Style, Tango Waltz and Milonga. Enriqueta also specialized in teaching technique for women and has led many courses and seminars. She performed at the Third and Fifth Metropolitan Championships in Buenos Aires. She has done a number of performances in Buenos Aires including at Salon Canning, Cachirulo (Maipu 444), and at the Confiteria Ideal at the First Milongueando Festival in Buenos Aires. Enriqueta has taught and performed in many cities of US, Canada. In Europe: Germany,Italy, France, Sweden and Russia. She has also taught and performed at the following Tango Festivals: 2008 May Madness at the University of Michigan in Ann Arbor; the 2009 Portland Tango Festival; 2009 Tucson Tango Festival; 2009 Chicago Mini Tango Festival; and 2010 May Madness. Also, again Chicago MIni Tango Festival 2011 and 2012. Retiro Festival (Sweden) 2011 and 2012. Enriqueta also speaks English, having lived for several years in New York City. Enriqueta was also an artist by profession.